"We, the Ikarus Youth Jury, have decided to award this year's best children's play to "Dragon's Blood and Blümchenpflaster" as the best children's Theatre play. It will be performed on the two stages of the Theatre Zitadelle Berlin. The play consists of two plots, one of which is the story of two guards who are two guards who guard a Theatre. The second storyline is about twins twins who have to rescue their parents from the torpor into which the son has into which the son had bewitched them. The two strands can be easily separated, since only the second only the second strand involved the use of puppets. The good distinction between the two stories makes it possible to switch constantly between them without between the two without causing confusion in the audience. Through this the play seems lively and remains exciting throughout the whole time. exciting. The story itself is also highly entertaining.

The play is full of There were many moments when the audience and we had to laugh. By playing with stereotypes and gender roles, the play also succeeded in combining a moral with humor. combining a moral with humor, which certainly provoked a thought-provoking many. This was also taken up in an age-appropriate way for the younger ones. In addition, there were there were facts incorporated into the story, for example about the Middle Ages, which also this also had a learning effect.

We were also impressed by the creative creative stage design and the way the actors handled it. The story was transported very well and was very understandable. The stage did not seem too crowded, but also not too empty, so that the focus could always on the actors and actresses, because there was no irritation, but also no irritation, but also no eternally long dialogues without movement on stage. stage.

In addition, the acting performances are also worth mentioning. The two guards, who also played with the puppets, were so good that the play became rousing. became. They were convincing and even when something went wrong, they improvised so well that it was improvised so well that one was not even sure if it was really a mishap or a a mishap or if it was intentional.

The best of all was that although the play was recommended for ages five and up, it was something for five and up, it is actually something for people of all ages. The play convinces by its complexity, so everyone can get something out of it. something from it. One understands a little more than the other, but both have fun watching. have fun watching. This is exactly the genius of this piece.

In the end it was all the above aspects together, which led us to the decision that this was that this is the best children's play of the year. We would recommend it to everyone to see this play, because "Dragon's Blood and Flowering Plaster" works through the beautiful story and its humor for People of all ages. "

A Knight's armor and two guards to watch over it. The setting is setting. But it soon turns into a colorful adventure. The find puppets and a program booklet and are quickly transformed into playing children by the puppet Theatre and are quickly transformed into children at play. children playing. Thus Michael Schwager and Daniel Wagner tell a classic knight's tale with all the trimmings of scary dragons, nasty villains and sharp swords. The armor itself becomes the stage - lovingly designed by Ralf Wagner.

But is this really a "classic knight's tale"? No, because here, fortunately the sharp sword is not wielded by the brave boy knight, but by his sister. but his sister, who is much more interested in being a knight. The nasty villains burst into tears, and the scariest dragons need a plaster. need a plaster - preferably one with "Sponge Bob" on it.

While while the two security guards tell a story about a knight - no, a lady knight everything we think we know about the Middle Ages is thrown out the window. is thrown out of kilter: Why can't girls be knights? Why should Why shouldn't the brave winner of the tournament simply marry the fancy hunter? marry the fancy huntsman? Can every problem be solved with the typical knightly can be solved by force, or perhaps through dialogue? With a lot of charm, wit and and lightness, the play deals with gender issues, sexual orientation, role clichés and attributions.

And And while the guards play further and further into their imaginary knight's tale, they discover story, they discover that they themselves are also stuck in many a role clichés and begin to question them: Does their son really have to play soccer really have to play soccer instead of going for a walk in the woods, which he would much rather would like? Is it okay to show weakness as a security guard?

Framework story and the knight's tale are cleverly interwoven at a fast pace. The play within the play gives Daniel Wagner and Michael Schwager the opportunity to reflect on themselves and their actions - as guards, but also as character players. character players. In this way, with a knight - no, excuse me - a not only current topics are taken up and conveyed in a humorous way as a matter of course but also the but also the genre of puppetry and the spectators are humorously under and the spectators humorously under the magnifying glass and taken on the grain.

Feeling along, laughing and thinking along is a great pleasure - for children, young adults and adults. and adults. Because no matter what age - the production sweeps everyone along. So it's no surprise that the youth jury and the professional jury this year the same production in the children's Theatre category. Here not only dragons, but above all a lot of heart and soul is involved.

The professional jury congratulates the Theatre Zitadelle Berlin with all its heart for the IKARUS 2022!

We were already surprised when we were nominated and were totally delighted.

When we actually received the Ikarus Prize of the Youth Jury at the really nice award ceremony Ikarus Award of the Youth Jury, the joy was great.

The youth jury said, among other things:

"The play is convincing because of its complexity, which means that anyone can and thus everyone can get something out of it. One understands a little more than the the other, but both have fun watching. This is precisely the genius of this piece."

Such words confirm us in our work, who does not like to hear that his who doesn't like to hear that his creation is ingenious.

We sat back that evening and were happy and satisfied. satisfied, it couldn't have been better.

But it got even better, when the jury of experts awarded us as well we were completely stunned and could not believe it. So much success for for the work, for the struggle for a piece that comes across so light-footed. But everyone knows that before lightness comes work.

That was also recognized. Our concept: to make Theatre for children that also interests adults, and to make Theatre for adults, who remember what it was like to be a child.

From the expert jury statement:

"In the play, in a comical and yet self-evident way, not only are not only role models of the classic fairy tale are broken, but also the players question themselves. question themselves. Told in an excellent fairy-tale setting, the two develop a joy of playing the two develop a joy of playing that is unparalleled."

Congratulations to the award winners from the GRIPS Theatre and to all the other nominees who also deserved the prizes.

The players: Michael Schwager and Daniel Wagner as well as all the involved in the production and the entire team of the Theatre would like to thank the youth jury and the professional jury for the two awards and the prize money. the prize money.

Many thanks to the JugendKulturService for the beautiful award ceremony and to all those who made the beautiful evening possible. and made it possible.

Regina Wagner, puppeteer and director of the Theatre Zitadelle Berlin

We have decided decided to award "Selfie" from GRIPS-Theatre as best youth Theatre play best play for young people. It is about a girl named Emma, who is in love with the big brother brother, Chris, of her best friend, Lily. At a party they become close, even very close, but the next morning Emma can't remember what happened. Emma can't remember what happened. The only thing she knows, she didn't want sex. The police are called in, they start asking questions and Emma is very unsure and distressed with what happened. Conflicts arise conflicts arise, to which the characters relate in different ways and thus meet meet. And even if Chris actually had no bad intentions, he has Emma hurt and did something wrong.

This play is moral questions, it is thought-provoking and involves all perspectives. perspectives. The plot is presented in a comprehensible and open manner, thereby and open, so that you can judge the situation and see what went wrong. has gone wrong. Although a certain amount of freedom is given for one's own view on the situation situation, it is nevertheless clear that one may always decide about one's own body. your own body. We have understood it in such a way that the piece wants to show us that that only a yes is also a yes, and that you always have to make sure whether the other person would like to go as far as you would like to go. To give someone the right to self-determination over their own body, no one has the right to do that and right to do so and you have to expect very hard consequences if you do it anyway. it anyway. Consequently, morality was of great importance.

The emotions of the are clearly portrayed, not least because of the outstanding actors. actors. You are drawn into the story and feel for it yourself. with the story - this strengthens the effect of the morals even more.

Despite the the tough subject, it is not only instructive but also exciting to watch the play. watch the play. One does not know what is going to happen next, because the characters have no idea themselves, and this ignorance and uncertainty are well conveyed. transported. In addition, "Selfie" works very strongly with empathy. with Emma, her despair with the situation jumped over to us.

What we found particularly the stage and costume design, ecertainly the handling of the ecertainly the use of the curtain hanging in a semicircle. On this curtain images were projected onto it during the play, which led to more movement and thus to the the conflicts became clearer. The costumes were color-coordinated which was at first pleasant to look at, but probably also had a deeper meaning. but probably also had a deeper meaning. Which we understood in such a way that the characters are not very different from each other on the outside, they come from the same they come from the same area, go to the same school, are equal within the society, etc. But inside them, it looks very different.

In conclusion we would like to say that we highly recommend everyone to see "Selfie". It's a topic that you don't see a youth play about very often and that makes it all the more important. When you come out of it, you've learned something that's learned something that has the greatest meaning.

It has never happened in the history of the IKARUS, that the youth jury and the professional jury have awarded the same production. Just as it is generally not standard that young and adult people share the same views. So: Is something wrong here?

Not at all. We're just dealing with an unusual case. case. "SELFIE" - the GRIPS Theatre production to which we also award the IKARUS as an outstanding production in the field of youth Theatre - deals with a topic that a topic that everyone can feel addressed by. And should. It is about what consent means in English. The consent, the agreement, the understanding.

The Canadian author Christine Quintana, who wrote the play award-winning play "SELFIE," expressed in an interview the wish that the audience expressed the wish that the audience of all ages, after the performances, should After the performances, viewers of all ages should begin to question their own relationships: Am I being treated in a way that keeps my boundaries respected? And am I I am perhaps acting in an abusive way myself? Quintana relates this not only to sexual relationships, but to all social contexts, to family and friendship circles. circles of friends. It is precisely where violence is not immediately recognizable as such because it takes place between people you know, because the situation is not situation is supposedly not so clear-cut - it is all the more important to take a closer look.

A violation - namely that of the right to self-determination - occurs, for example, when a person's photo is posted on social media without their posted on social media without their consent. Which in more ways than one Image disruption and loss of control means, as described in "SELFIE."

At one point in the piece, it is said that there were three versions existed. "The one everyone thinks you are". The one "you would most you'd most like to be." And finally, "The real you. Whatever that means." Most people struggle throughout their lives to reconcile the way they perceive themselves and inner life, is something most people spend their entire lives trying to reconcile. Not to mention not to mention tracking down one's own true core. But no one should be allowed to the sovereignty of interpretation over one's own image, over one's own history. history. Just as little as doubts are appropriate as a reaction when a survivor of sexualized violence survivor of sexualized violence tries to share her experiences. Even if they lie in the darkness of memory, as with Emma in "SELFIE".

One of the great strengths of director Maria Lilith Umbach is her feeling for the ambiguities with which Christine Quintana Christine Quintana uses in the play to surround a clear-cut case: a young woman had sex sex against her will. No consent. The fact that the perpetrator, Chris, is in the play perpetrator, Chris, is listed in the dramatis personae is listed as "A good guy" and also appears as such. As one who, with with a crumpled bouquet of flowers and a contrite face even after the crime. even after the crime has been committed. And the fact that Emma herself has posted on her Instagram account has been playing a dubious game of make-believe and reality. does not give her friend Lily the right to circulate a kissing photo that superimposed the truth with a lie.

"SELFIE" at GRIPS - nuanced and engagingly played by. Yana Ermilova, Lisa Klabunde and Marius Lamprecht - deals wisely with such double double exposures. And invites us to look behind the surface of the picture. look.

When the author discussed her play at a high school with students at a high school, the reactions were initially telling. The most of them blamed Emma for what happened: she didn't have to drink. had to drink. She could have known what could happen at a party. party. Until one student said, "Maybe we shouldn't blame the victim." Maybe we shouldn't blame the victim.

"SELFIE" - aesthetically and musically at eye level with the young audience without young audience without ingratiating itself - not least extends the invitation to enter into conversation about an important topic and to remain in exchange, until the last ambiguity has been cleared up. Distinguishing right from wrong, that is ultimately (like so much else) a lifelong learning process. Something, that young and adult people have in common.

Congratulations on winning the IKARUS!

"SELFIE has been awarded twice among five strong productions. That makes me more than

twice happy. The play SELFIE deals with sexual self-determination and consensus. An important topic that can now finally be talked about. The artistic team and director Maria Lilith Umbach with our actors and actresses has found a strong realization, which appeals to young people and makes them think. It shows different perspectives on a sexual assault as well as the excessive demands and deep injury. It gives impetus to talk about a taboo subject. Thank you, for recognizing the urgency of the piece and shining a spotlight on it. spotlight."

Philipp Harpain, Director GRIPS Theatre

Dance piece by Isabelle Schad & Offensive Tanz for young audience

direction, choreography and stage: Isabelle Schad | music and live sound: Damir Simunovic | Lighting and artistic assistance: Emma Juliard, Arnaud Lesage | dramaturgical advice youngest audience: Dagmar Domrös | dance and co-choreography: Jan Lorys, Aya Toraiwa, Manuel Lindner

Atmospherically dense, the dance piece dance piece "Harvest" shows the gathering, bundling and redistribution of long willow rods. The choreography by Isabelle Schad allows for a wide range of associations. dancers seem to be driven by the forces of nature and at other times they seem to be gathering the harvest. Through the exploration of the material, the layering, the bending of the whips and branches, the production moves close to nature. With a well-balanced rhythm, quiet actions and dance-like movements "Harvest" offers a dance experience of high sensuality not only to the young audience, tension and aesthetics.

Original soundtrack Jury

Movement, objects, space, light and sound produce a magnificent quality all of its own. Art is created before the eyes of the spectators in the best sense of the word - what is being performed here enchants everyone: from 3-year-olds child to the adult.

HARVEST(3+)(Theatre-on.de)

Music Theatre based on the book by Marc-Uwe Kling

Direction: Birga Ipsen | Composition and musical direction: Matthias Witting | Stage design: Linda Schnabel | Assistant director: Neele Hilsberg | Lighting and sound: Kevin Paetzold, Aaron Vorpahl | acting: Guylaine Hemmer, Mathieu Pelletier, Natascha Petz, Alexandra Dimitroff

The book by NEINhorn, directed by Birga Ipsen, has been turned into a wonderful a wonderful musical play, which makes children and adults equally happy. The story of the sweet and yet rebellious unicorn is accompanied and by live music and polyphonic singing, composed and arranged by Matthias Witting. arranged by Matthias Witting. The changeable stage design allows the furious play of the the furious play of the actors with their original costumes. The ATZE MusikTheatre has succeeded in creating a production full of wild playfulness, comedy and humor. A visit of the "NEINhorn" is explicitly recommended!

O-Ton Jury

Free of superficial pedagogical ambitions, the playful actors transform the book actors transform the book with relish into a wonderful spectacle - advanced by perfectly brought forward by perfectly arranged live music. A play full of wild and subversive humor!

The NO Horn - ATZEMusikTheatre (atzeberlin.de)

Puppet Theatre based on the book by Sven Nordqvist

Director: Ivana Sajević | Stage design, set and puppets: Katrin Busching | Music: Almut Lustig | Play: Emilia Giertler, Björn Langhans

At While playing hide-and-seek, the little mouse's sister disappears without being found. The search for her turns into a journey through surreal worlds. The production takes elements from the book and yet boldly goes its own way. own way. The stage design by Katrin Busching, who also designed the puppets, holds puppets, holds surprises and dream worlds. Emilia Giertler and Björn Langhans masterfully lead the puppets and figures and bring them to life. come to life. With a very strong visual level and different storytelling styles an outstanding, innovative and creative realization of a complex book and its content. book and content.

O-Ton Jury

The Weite Theatre finds its very own, imaginative way to transform the visually powerful original into an outstanding production. into an outstanding production. A virtuoso puppet performance and a stage design full of surprises surprises take the audience into fantastic worlds.

TheWide Theatre (das-weite-Theatre.de)

Puppet Theatre by Michael Schwager and Daniel Wagner

Direction, text and play: Michael Schwager, Daniel Wagner | set, stage and puppets: Ralf Wagner | Costumes: Ira Storch-Hausmann | Textile collaboration: Evelyne Höpfner

As two discover a stage with puppets in a puppet Theatre, they spontaneously improvise a fairy tale play. they spontaneously improvise a fairy tale play. The figure and puppet design and the stage design by Ralf Wagner in connection with the skilful puppet leadership of Michael Schwager and Daniel Wagner bring the story to life. Much humor lets tension and liberating laughter alternate. How fresh and modern puppet Theatre can take up current topics and convey them in a humorous way. humorous way, is shown by the two players, who are inspired by the sets puppet Theatre's scenery, figures and puppets into children at play. are enchanted by the scenery, figures and puppets of a puppet Theatre.

O-voice jury

In the play, not only are the role models of the classic fairy tale broken in a comical and yet of the classic fairy tale, the players also question themselves. In fairy tale setting, the two develop a joy of acting that is unparalleled. joy of playing that is unparalleled.

Drachenblut und Blümchenpflaster - Theatre Zitadelle (Theatre-zitadelle.de)

Direction and theatrical adaptation: Matthias Schönfeldt | Musical direction: Sinem Altan | Choreography: Maria Walser | Sound design: RUSNAM | Composition and texts: Sinem Altan, Ilja Pletner | Stage design: Frida Grubba | Costume design: Anna Dobis | Dance and acting: Jonathan Bamberg, Irene Fas Fita, Mahalia Horvath, Jan Lorys, Ilja Pletner, Kinga Anita Ötvös, Mathilde Mensink, Balázs Posgay

According to the book "I am Vincent and I am not afraid" Matthias Schönfeldt conceived a combination of musical Theatre, drama, dance and movement movement Theatre under the choreography of Maria Walser. Live music from laptop, electric guitar, vocals and rap, played and arranged by RUSNAM and Sinem Altan, finds its implementation in the dancing quality of the group. The Drehbühne design by Frida Grubba aptly supports the atmosphere of the piece. Bullying at school and its horror becomes tangible. In an outstanding music and dance Theatre merge into a unity.

O-voice of the jury

Here everything is right: music, dance, choreography, light, stage and play. This production is a synthesis of the arts, which draws us into the tragic story of a bullied of a bullied student. The young audience is challenged - in terms of content and aesthetically and taken seriously.

I am Vincent and I am not afraid - ATZE MusikTheatre (atzeberlin.de)

Drama by Zoran Drvenkar

Director: Robert Neumann | Stage and costume: Jan A. Schroeder | Composition and sound design: Matthias Bernhold | dramaturgy: Tobias Diekmann | acting: Helena Charlotte Sigal, René Schubert, Matthias Bernhold

Unusual the play "Kai goes off to war and comes back with grandpa" combines the themes of war and dementia. Kai is fascinated by his grandfather's heroic stories from the war. Kai is fascinated by his grandfather's heroic stories from the war and both act them out according to grandpa's "memories". But what is really true? Robert Neumann stages this touching encounter as an intense chamber play. chamber play. Helena Charlotte Sigal and René Schubert credibly play grandson and grandpa. and grandpa. The stage design by Jan A. Schroeder uses simple but effective means. means. With unfamiliar instruments, the musician Matthias Bernhold creates an exciting accompaniment. The production, which gets under the skin sets two worlds of experience in relation to each other in a certain way.

O-voice jury

Sensitively the grandson-grandfather relationship, topics such as dementia, war and truth are and truth. In addition to the great acting and musical accompaniment, the choice and the choice and connection of themes is particularly touching - timeless and yet highly topical.

Kai goes to war and comes back with grandpa - GRIPS Theatre (grips-Theatre.de)

Dance Theatre by Grichka Caruge

Choreography: Grichka Caruge and ensemble | Dramaturgy: Livia Patrizi | Music: Igor Stravinsky | Set and costume design: Silvia Albarella | Lighting design: Arnaud Poumarat | Dance: Luka Austin Seydou, Solomon Quaynoo, Rochdi Alexander Schmitt, Mark Sheats, Émilie Ouedraogo Spencer

With the dance piece "A Human Race" TANZKOMPLIZEN with Krump brings a dance style from the African-American community from Los Angeles choreographically to the stage. The dance style of the street meets so-called high culture on stage: Igor Stravinsky's "Le Sacre du Printemps." In solos, duets and group constellations, images of power, self-confidence and images of power, self-confidence and emancipation. The clear stage design by Silvia Albarella underlines the the origin of the dance style. It allows the interpretation of the pair of opposites inside and and outside, a separation that is dissolved as the dance production progresses. is dissolved. "A Human Race" offers young people a great docking opportunity, to experience human togetherness.

O-voice jury

Using dance and musical means, "A Human Race" explores "complex themes such as victim roles, competition, exclusion, liberation and togetherness, liberation and togetherness. The result is an enormously strong performance that dares and tries out a lot.

A Human Race - Tanzkomplizen - Dance for Young Audiences

English language Play by Charlie Dupré

Directed by: Rebecca Scott | Dramaturgy: Makisig Akin, An*dre Neely, Fiona Power Klassen | Costume and props: Marjan Boukes | Composer and Sound Design: Rob Atkinson | Lighting Design: Claudine Castay | Set Design: Leif-Erik Heine | Video: Julia Patey | voice acting: George P. Scott | video actress: Judith Shoemaker | Play: Adrian Blount, Josh Spriggs

Ros, 17, explores himself through the online identity "G" in social media worlds. Because of the lockdown, new classmate Lanny can't find any friends. Both exchange ideas via online platforms and find each other through their shared pocket bookion, music. Because Lanny does not stand up for Ros in the face of discrimination, the friendship comes to an abrupt end. As interface between the online and offline worlds, a monumental cell phone dominates the technically impressive cell phone dominates Leif-Erik Heine's stage design, which is also technically impressive. In the directed by Rebecca Scott, Adrian Blount and Josh Spriggs play the young adults very authentically. very authentically. On the relationship of Ros and Lanny discusses the outstanding iTalk" discusses very topical issues of racism in a lifelike and intense way, gender identities, self-dramatization, bullying and friendship that affect us all. affect us all.

O-Ton Jury

Youthfully fresh and completely in the here and now iTalk" presents the reality of life and the hardships of young people in times of a worldwide in times of a worldwide pandemic and growing media worlds, which struggle for friendships and truths and find their own ways in the process.

iTalk | PLATYPUS Theatre (platypus-Theatre.de)

Drama by Christine Quintana

Director: Maria Lilith Umbach | Stage and Costumes: Lea Kissing | Costumes: Merle Richter | music: Frieder Hepting | video: Alexander Merbeth | Dramaturgy: Tobias Diekmann | Translation: John Birke | Acting: Lisa Klabunde, Yana Ermilova, Marius Lamprecht

With "Selfie", directed by Maria Lilith Umbach, the topics of sexual self-determination and sexual self-determination as well as sexual consensus reach the youth Theatre. Infatuation, a first kiss, but after a party, Lily grows suspicious that her best friend's brother of her best friend has taken advantage of her drunkenness. In the production, the actors Lisa Klabunde, Yana Ermilova, and Marius Ermilova, and Marius Lamprecht touchingly portray the whole range of feelings triggered and the effects of the assault on friendships. The stage design by Lea Kissing perfectly takes up the aesthetics of social media. The topic of sexual abuse is treated in a differentiated way. At the same time the the world and language of the young people, without exposing them. expose them.

Jury quote

Perfectly and sensitively narrated, "Selfie" raises questions about sexual self-determination self-determination and shared lifeworlds, without seemingly providing the right answers. A production that gets under your skin and brings you into conversation.

SELFIE - GRIPS Theatre (grips-Theatre.com)